2
20
453
-
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Exhibitions, screenings, festival selections & documents
Event
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Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2011-06-25
Event Type
festival
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Once Mars Is Colonized at Onion City Film and Video Festival, Chicago
Description
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<a title=""Une fois Mars colonisée" " href="http://pierreyvesclouin.fr/items/show/28" target="_self">"Une fois Mars colonisée"</a><span class="style_2">(Once Mars Is Colonized, 2010) was screened on June 25 at Chicago Filmmakers during the the 23rd </span><a class="style_3" title="http://www.chicagofilmmakers.org/onion_fest/onion3_schedule.html" href="http://www.chicagofilmmakers.org/onion_fest/onion3_schedule.html">Onion City Experimental Film and Video Festival,</a><span class="style_2"> Chicago, Illinois, USA</span><span class="style_4"><br /></span>
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<a title=""Une fois Mars colonisée" " href="http://pierreyvesclouin.fr/items/show/28" target="_self">"Une fois Mars colonisée"</a>
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event
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Chicago
Festival
-
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Exhibitions, screenings, festival selections & documents
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http://reframecollection.org/films/film?Id=2168
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Once Mars Is Colonized in the Tribeca Film Institute Reframe Collection
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<img src="http://pierreyvesclouin.fr/files/original/8697c1900bc1d75228cc65d24b862e8a.jpg" alt="" width=""400px" />
<p class="paragraph_style_1"><a title="UNE FOIS MARS COLONISÉE" href="http://pierreyvesclouin.fr/items/show/28" target="_self">"Une fois Mars colonisée"</a><span class="style_2"> (Once Mars Is Colonized, 2010) is </span><a class="style_3" title="http://reframecollection.org/films/film?Id=2168" href="http://reframecollection.org/films/film?Id=2168">available for purchase and for viewing on demand</a><span class="style_2"> (VOD) from the Tribeca Film Institute Reframe Collection, in the Nomad Films collection. </span></p>
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"<a title="UNE FOIS MARS COLONISEE" href="http://pierreyvesclouin.fr/items/show/28" target="_self">Une fois Mars colonisée</a>"
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web
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New York City
web
-
http://pierreyvesclouin.fr/files/original/7fa36f495865c197517c8c18475c0e0e.pdf
467606db2f8f753eec40abe9eb7ff22c
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Exhibitions, screenings, festival selections & documents
Event
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Duration
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2010-10-8 to 2010-10-16
Event Type
festival
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<em>"Une Fois Mars colonisée"</em> (Once Mars Is Colonized) premieres at Antimatter Film Festival
Description
An account of the resource
<img src="http://pierreyvesclouin.fr/files/original/f24883fe7eefc35d36843437470caf2b.jpg" alt="" width="400px" /><br /> <a title="Une fois Mars colonisée (Once Mars Is Colonized)" href="http://pierreyvesclouin.fr/items/show/28" target="_self">Une fois Mars colonisée (Once Mars Is Colonized, 2010)</a> has been selected for screening at the 13th annual <a title="http://www.antimatter.ws/" href="http://www.antimatter.ws/">Antimatter Film Festival</a>, October 8 to 16, 2010, in Victoria, British Columbia, Canada. It will be featured in the program "<a title="http://www.antimatter.ws/10ten.html" href="http://www.antimatter.ws/10ten.html">Losing Ground</a>" scheduled at <a href="http://www.openspace.ca/">Open Space</a> on October 10 at 9pm.
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2010-10-8 to 2010-10-16
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<a title="Une fois Mars colonisée (Once Mars Is Colonized,)" href="http://pierreyvesclouin.fr/items/show/28" target="_self">Une fois Mars colonisée (Once Mars Is Colonized)</a>
Type
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event
Coverage
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Victoria, BC, CA
Festival
-
Dublin Core
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Exhibitions, screenings, festival selections & documents
Event
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Duration
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2010-10-23
Event Type
fair
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"Une Fois Mars colonisée" (Once Mars Is Colonized) to be screened in The Nomad Project in Paris
Description
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<img src="http://pierreyvesclouin.fr/files/original/21b65b1990685c031b929e45e171ab18.jpg" alt="" width="400px" /><br /> <a title="Une fois Mars colonisée (Once Mars Is Colonized" href="http://pierreyvesclouin.fr/items/show/28" target="_self">Une fois Mars colonisée (Once Mars Is Colonized, 2010)</a> will be featured in <a title="http://nomadfilms.net/" href="http://nomadfilms.net/">The Nomad Project</a>'s official film program that will screen at the <a title="http://accessetparadox.fr/index-en.html" href="http://accessetparadox.fr/index-en.html">Access & Paradox Open Art Fair</a>, to be held at the Espace des Blancs Manteaux in Paris, from 8 to 10pm on Saturday, October 23. The program also includes works by Vincent Moon (France), Marina Lutz (United States), Tobias Rosenberg (China), Ho Tam (Canada), Mark Norfolk (England), Vienne Chan (Germany), Lindsey Martin (United States), Silvia Defrance (Belgium), and Clara Dijan & Nicolas Leto (France). <br />Acces & Paradox, which "defends the most emergent artistic scene," will present over 25 curated projects during the Paris fair that runs from October 22 to 25 (<a title="http://c-x-p.net/2010-10-Nomad-AccessParadox-en.pdf" href="http://c-x-p.net/2010-10-Nomad-AccessParadox-en.pdf">press release</a>). Simultaneous to the screening in Paris, the Nomad Project program will be aired in real time on <a title="http://www.souvenirsfromearth.tv/" href="http://www.souvenirsfromearth.tv/">Souvenirs From Earth</a>, an international cable TV channel that broadcasts film and video art 24/7 in France and Germany.
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<a title="Une fois Mars colonisée (Once Mars Is Colonized" href="http://pierreyvesclouin.fr/items/show/28" target="_self">Une fois Mars colonisée (Once Mars Is Colonized, 2010)</a>
Type
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event
Coverage
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Paris
art fair
-
http://pierreyvesclouin.fr/files/original/4317206bf72b8d208327d7810cd92061.pdf
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http://pierreyvesclouin.fr/files/original/b594c03a1232dc9a4f436182b528e9e7.pdf
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http://pierreyvesclouin.fr/files/original/5a6460de09962568f8e689fcd68d2f5c.pdf
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http://pierreyvesclouin.fr/files/original/e3814a90e5c2b8b1cdb78361b51d02e6.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
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Exhibitions, screenings, festival selections & documents
Event
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Text
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<p><strong>Extraordanary Men</strong> by Stefan St Laurent about screening of Pierre Yves Clouin videos program, at Art Star Video Biennal 4 2010 at Saw Gallery, Ottawa</p>
<p><span><strong>Extra Ordinary Men<br /></strong></span>Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos <em>lo-fi, </em>à petit budget, pouvaient le faire.<br />Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin.<br />Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières œuvres, Clouin explore cet espace précaire où cohabitent public et privé.</p>
<p><span>Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.<br /></span>Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.»<br />Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.<br />J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.»<br />Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur.<br />Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.<br />La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante.<br />Stefan St-Laurent, commissaire<br />Traduit de l’anglais par Colette Tougas<br /><strong>Notes</strong></p>
<ul>
<li><span>Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», <em>Advocate</em> (7 août 1984).(Notre traduction.)</span></li>
<li><span>Department of Photographs, «Paul Strand (1890 - 1976) «, <em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span>http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (visité le 20 octobre 2010).(Notre traduction.)</span></li>
<li><span>Sura Wood, «Exploring the Offbeat World of Experimental Film» <em>San Francisco Arts Monthly</em>, avril 2005. (Notre traduction.)</span></li>
</ul>
<p><span><strong>Biographies<br /></strong></span><strong>Pierre Yves Clouin</strong> est né à Paris où il vit et travaille. Il a étudié l’architecture à l’Ecole nationale supérieure des beaux-arts à Paris. Ses vidéos ont été présentées au BFI et au LUX (Londres), à la Paula Cooper Gallery et à Apexart (New York), au Media Art Lab (Moscou) et au Pro Arte Institute (Saint-Petersbourg), au Museo Tamayo (Mexico), au Museum of Contemporary Art, Los Angeles, au Guggenheim Museum Bilbao, au Museum Africa (Johannesburg), au Philadelphia Museum of Art, au LaM (Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), au San Francisco Art Institute et au Yerba Buena Center for the Arts (San Francisco), au Modern Art Oxford (Oxford), au Museum van Hedendaagse Kunst Antwerpen (Anvers), au Centre Pompidou (Paris), de même que dans des festivals à travers le monde, entre autres les festivals de films internationaux de San Francisco, Chicago, Cork, Thessaloniki, Moscou et Los Angeles, au Sundance Film Festival et à Ars Electronica. Il a récemment complété une résidence CulturesFrance Hors les Murs à Montréal.<br />Artiste multidisciplinaire et commissaire, <strong>Stefan St-Laurent</strong> est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa.<br /><br /><strong>Extra Ordinary Men<br /></strong>Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could.<br />Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with.<br />In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit.<br />I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime.<br />Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.»<br />A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work.<br />I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»<br />Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur.<br />Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light.<br />This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.<br />- Stefan St-Laurent, Curator</p>
<p><strong>Notes</strong></p>
<ul>
<li><span>Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», <em>Advocate</em>, August 7, 1984.</span></li>
<li><span>Department of Photographs, «Paul Strand (1890 - 1976), « in <em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span>http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (accessed October 20, 2010).</span></li>
<li><span>Sura Wood, «Exploring the Offbeat World of Experimental Film» <em>San Francisco Arts Monthly</em>, April 2005.</span></li>
</ul>
<p><span><strong>Biographies<br /></strong></span><strong>Pierre Yves Clouin</strong> was born in Paris where he lives and works. He studied architecture at the Ecole nationale supérieure des beaux-arts in Paris. His videos have been presented at the BFI and Lux (London), the Paula Cooper Gallery and Apexart (New York), the Media Art Lab ( Moscow) and the Pro Arte Institute (St. Petersburg), the Museo Tamayo (Mexico City), the Museum of Contemporary Art, Los Angeles, the Guggenheim Museum Bilbao, Museum Africa (Johannesburg), the Philadelphia Museum of Art, the LaM( Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), the San Francisco Art Institute and Yerba Buena Center for the Arts (San Francisco), Modern Art (Oxford), the Musem van Hedendaagse Kunst Antwerpen (Antwerp) the Centre Pompidou (Paris), and selected in festivals worldwide, including the international film festivals of San Francisco, Chicago, Cork, Thessaloniki, Moscow and Los Angeles, and the Sundance Film Festival and Ars Electronica, among others. He recently completed a CulturesFrance Hors les Murs residency in Montréal in 2010.<br /><strong>Stefan St-Laurent, </strong>a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa.</p>
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paper
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2010
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biennal
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Extraordinary Men, Art Star Video Biennal 2010
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<img src="http://pierreyvesclouin.fr/files/original/f0fba44c23d0168f9e2dba859b38877f.jpg" alt="" width="400px" /><br />"Extraordinary Men" text catalog by Stefan St Laurent about screening at Art Star Video Biennal 2010 at <a title="sawgalery" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" target="_self">Saw Gallery Saw</a><br /><br />La Biennale de vidéo d’art Art Star 4 présente dix programmes étoffés d’œuvres créées par des vidéastes indépendants canadiens et internationaux. Chaque programme inclura des œuvres produites par un seul vidéaste (ou un collectif de vidéastes), offrant ainsi un point de vue en profondeur sur son œuvre, sa pratique et le développement de sa carrière. Les artistes et commissaires participants sont invités à venir à Ottawa pour établir un dialogue direct avec le public. En plus des visionnements de monobandes vidéo au Club SAW, l’édition de cette année inclura des installations vidéo présentées dans divers lieux, dont la cour du complexe Clarendon Lanes dans le marché By, la cour extérieure de SAW et la Galerie SAW Gallery. <br />Art Star 4 Video Art Biennial will present ten comprehensive programs of works by independent Canadian and international video artists. Each program will include works produced by one single video artist (or collective), providing a focus on the artist’s œuvre, practice and career development. Participating artists and curators are invited to come to Ottawa to have a direct dialogue with their audience. In addition to screenings of single-channel videos taking place in Club SAW, this year's edition will include video-based installations presented in various locations, including the Clarendon Lanes courtyard in the ByWard Market, the SAW outdoor courtyard and Galerie SAW Gallery. <br />with: Laurel Nakadate, New York <br />Terrance Houle, Calgary <br />Cindy Dumai, Chicoutimi <br />Rebecca Belmore, Vancouver <br />Rafael Lozano - Hemmer, Montréal + Madrid <br />Manon Labrecque, Montréal <br />Pierre Yves Clouin, Paris <br />Marcus Coates, London <br />Ryan Trecartin, Los Angeles <br />Kelly Rihardson, Toronto + London<br /><br />
<p class="p1"><span class="s1"><strong>Extra Ordinary Men</strong></span></p>
<p class="p1"><span class="s1">Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos <em>lo-fi, </em>à petit budget, pouvaient le faire.</span> </p>
<p class="p1"><span class="s1">Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin.</span></p>
<p class="p1"><span class="s1">Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières œuvres, Clouin explore cet espace précaire où cohabitent public et privé.</span></p>
<p class="p2"> <span class="s1">Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.</span></p>
<p class="p2"> <span class="s1">Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.»</span></p>
<p class="p1"><span class="s1">Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.</span> </p>
<p class="p1"><span class="s1">J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.»</span></p>
<p class="p1"><span class="s1">Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur.</span></p>
<p class="p1"><span class="s1">Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.</span> </p>
<p class="p1"><span class="s1">La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante.</span></p>
<p class="p1"><span class="s1">Stefan St-Laurent, commissaire</span></p>
<p class="p1"><span class="s1">Traduit de l’anglais par Colette Tougas</span></p>
<p class="p1"><span class="s1"><strong>Notes</strong></span></p>
<ol class="ol1">
<li class="li1"><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», <em>Advocate</em> (7 août 1984).(Notre traduction.)</span></li>
<li class="li1"><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976) «, <em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (visité le 20 octobre 2010).(Notre traduction.</span></li>
<li class="li1"><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film» <em>San Francisco Arts Monthly</em>, avril 2005. (Notre traduction.)</span></li>
</ol>
<p class="p1"><span class="s1"><strong>Biographies</strong></span></p>
<p class="p1"><span class="s1"><strong>Pierre Yves Clouin</strong> est né à Paris où il vit et travaille. Il a étudié l’architecture à l’Ecole nationale supérieure des beaux-arts à Paris. Ses vidéos ont été présentées au BFI et au LUX (Londres), à la Paula Cooper Gallery et à Apexart (New York), au Media Art Lab (Moscou) et au Pro Arte Institute (Saint-Petersbourg), au Museo Tamayo (Mexico), au Museum of Contemporary Art, Los Angeles, au Guggenheim Museum Bilbao, au Museum Africa (Johannesburg), au Philadelphia Museum of Art, au LaM (Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), au San Francisco Art Institute et au Yerba Buena Center for the Arts (San Francisco), au Modern Art Oxford (Oxford), au Museum van Hedendaagse Kunst Antwerpen (Anvers), au Centre Pompidou (Paris), de même que dans des festivals à travers le monde, entre autres les festivals de films internationaux de San Francisco, Chicago, Cork, Thessaloniki, Moscou et Los Angeles, au Sundance Film Festival et à Ars Electronica. Il a récemment complété une résidence CulturesFrance Hors les Murs à Montréal.</span></p>
<p class="p2"> <span class="s1">Artiste multidisciplinaire et commissaire, <strong>Stefan St-Laurent</strong> est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa.<br /><br /></span></p>
<p class="p1"><span class="s1"><strong>Extra Ordinary Men</strong></span> </p>
<p class="p1"><span class="s1">Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could.</span></p>
<p class="p1"><span class="s1">Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with.</span></p>
<p class="p1"><span class="s1">In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit.</span></p>
<p class="p1"><span class="s1">I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime.</span></p>
<p class="p1"><span class="s1">Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.»</span></p>
<p class="p1"><span class="s1">A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work.</span></p>
<p class="p1"><span class="s1">I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2</span></p>
<p class="p1"><span class="s1">Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur.</span></p>
<p class="p1"><span class="s1">Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light.</span></p>
<p class="p1"><span class="s1">This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.</span> </p>
<p class="p1"><span class="s1">- Stefan St-Laurent, Curator</span></p>
<p class="p1"><span class="s1"><strong>Notes</strong></span></p>
<ol class="ol1">
<li class="li1"><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», <em>Advocate</em>, August 7, 1984.</span></li>
<li class="li1"><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976), « in <em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (accessed October 20, 2010)</span></li>
<li class="li1"><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film» <em>San Francisco Arts Monthly</em>, April 2005.</span></li>
</ol>
<p class="p2"> <span class="s1"><strong>Biographies</strong></span></p>
<p class="p1"><span class="s1"><strong>Pierre Yves Clouin</strong> was born in Paris where he lives and works. He studied architecture at the Ecole nationale supérieure des beaux-arts in Paris. His videos have been presented at the BFI and Lux (London), the Paula Cooper Gallery and Apexart (New York), the Media Art Lab ( Moscow) and the Pro Arte Institute (St. Petersburg), the Museo Tamayo (Mexico City), the Museum of Contemporary Art, Los Angeles, the Guggenheim Museum Bilbao, Museum Africa (Johannesburg), the Philadelphia Museum of Art, the LaM( Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), the San Francisco Art Institute and Yerba Buena Center for the Arts (San Francisco), Modern Art (Oxford), the Musem van Hedendaagse Kunst Antwerpen (Antwerp) the Centre Pompidou (Paris), and selected in festivals worldwide, including the international film festivals of San Francisco, Chicago, Cork, Thessaloniki, Moscow and Los Angeles, and the Sundance Film Festival and Ars Electronica, among others. He recently completed a CulturesFrance Hors les Murs residency in Montréal in 2010.</span></p>
<p class="p2"> <span class="s1"><strong>Stefan St-Laurent, </strong>a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front<span class="Apple-converted-space"> </span>in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and<span class="Apple-converted-space"> </span>Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa.</span></p>
Date
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2010-11-04
Relation
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Ottawa
biennial
Canada
extraodinary
man
men
Ottawa
program
Saw gallery
Stefan St Laurent
videos
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2010-06-11 to 2010-06-12
Event Type
festival
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
My Levitating Butt in Milwaukee PrideFest
Description
An account of the resource
<a title="Milwaukee LGBT FIlm/Video Festival " href="http://pierreyvesclouin.fr/items/show/103" target="_self"><span class="style_2">"</span>Cul en l'air"</a><span class="style_2">(My Levitating Butt, 1997) will be featured in a screening organized by the </span><a class="style_3" title="http://www4.uwm.edu/psoa/programs/film/lgbtfilm/" href="http://www4.uwm.edu/psoa/programs/film/lgbtfilm/">Milwaukee LGBT FIlm/Video Festival</a><span class="style_2"> for PrideFest in Milwaukee, Wisconsin, June 11 & 12. </span>
Relation
A related resource
<a title="Milwaukee LGBT FIlm/Video Festival " href="http://pierreyvesclouin.fr/items/show/103" target="_self"><span class="style_2">"</span>Cul en l'air"</a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Milwaukee
Festival
-
http://pierreyvesclouin.fr/files/original/a252720dac53c13f3eaeb607dd4e38df.pdf
0616adc0bad1747401f8dffcce19df58
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Institut français</em> program <em>Hors les murs</em> residency in Montreal, Quebec 2010
Description
An account of the resource
<p class="paragraph_style_2">Pierre Yves Clouin won an Hors les murs <a title="Institut Français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">residency in Montreal, Quebec</a>, Canada, in 2010, in the section Film video, Cinema from <a title="Institut français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">Institut français</a> for his video project, a film without a scenario; the sequence in which events were filmed would, itself, engender the scenario.<br /><a title="JE SUIS UN INDIEN PONTIAC" href="http://pierreyvesclouin.fr/items/show/26" target="_self">"I'm a Pontiac Indian" (Je suis un indien Pontiac,)</a> was shot in the summer of 2010 during this residency.<br /><a title="Institut français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">Institut français</a> is the international cultural exchange agency run by the French Ministry of Foreign Affairs and the Ministry of Culture and Communication. The Hors les murs residency program was, until 2009, known as Villa Médicis Hors les murs.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Relation
A related resource
<a title="Institut français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">Institut français</a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Montréal
art residency
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Website
A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ).
Local URL
The URL of the local directory containing all assets of the website.
http://www.brefmagazine.com/pages/20ans.php?id_video=9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>"Orage"</em> (Storm) and <em>"fumée"</em> (smoke) on Bref
Description
An account of the resource
<div class="paragraph paragraph_style_2">
<div class="tinyText style_SkipStroke_1 inline-block stroke_0"><a title=""Orage"" href="http://pierreyvesclouin.fr/items/show/32" target="_self">"Orage"</a> (Storm, 2009), shot at the corner of 43th Street and 5th Avenue in New York, and <a title="fumée" href="http://pierreyvesclouin.fr/items/show/33" target="_self">"fumée" </a>(smoke, 2008), also filmed in Manhattan, are being <a title="http://www.brefmagazine.com/pages/20ans.php?id_video=9" href="http://www.brefmagazine.com/pages/20ans.php?id_video=9"><span>featured on </span>Bref</a>, a French publication dedicated to short films, in a special video series to celebrate the magazine's 20th anniversary. </div>
</div>
<p class="paragraph_style_3"> </p>
<p class="paragraph_style_2"> </p>
Relation
A related resource
<a title=""Orage"" href="http://pierreyvesclouin.fr/items/show/32" target="_self">"Orage"</a>, <a title="fumée" href="http://pierreyvesclouin.fr/items/show/33" target="_self">"fumée"</a>
Type
The nature or genre of the resource
InteractiveRessource
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris, FR
web
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2010-02-11 to 2010-02-21
Event Type
festival
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Crossing" in Urban Research on Film, Berlin
Description
An account of the resource
<div class="style_SkipStroke_2 flowDefining">
<div class="text-content style_External_663_2292">
<div class="style">
<p class="paragraph_style_2"><a title="crossing" href="http://pierreyvesclouin.fr/items/show/35" target="_self">"Crossing" </a>(2008) is being screened in the Loop Program in "<a title="http://www.richfilm.de/DL2010/framesUrbanResearch.html" href="http://www.richfilm.de/DL2010/framesUrbanResearch.html">Urban Research on Film</a>" curated by Klaus W. Eisenlohr at the <a title="http://directorslounge.net/" href="http://directorslounge.net/">Directors Lounge</a> 10 Contemporary Art and Media Festival in Berlin, running from February 11 to 21.</p>
</div>
</div>
</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-02-11 to 2010-02-21
Relation
A related resource
<a title="crossing" href="http://pierreyvesclouin.fr/items/show/35" target="_self">"Crossing" </a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Berlin
Festival
-
http://pierreyvesclouin.fr/files/original/e6e06a34eb9bbe130699e1bf56f8dfa6.pdf
d41d8cd98f00b204e9800998ecf8427e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2009-10-11
Event Type
festival
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Kangaroo" and "Mon lapin bleu" in Festival international du court mètrage, Lille
Description
An account of the resource
<a title="Kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">"Kangaroo"</a> (1998) and <a href="https://pierreyvesclouin.fr/items/show/1352">"Mon lapin bleu" </a>(Honey Bunny, 1999) were screened in the program Vidéo Bonbons October 11, at the <a title="http://www.festivalducourt-lille.com/" href="http://www.festivalducourt-lille.com/">Festival international du court mètrage</a> which ran October 6 to 11, in Lille, France.
Relation
A related resource
<a title="Kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">"Kangaroo"</a>,<a href="https://pierreyvesclouin.fr/items/show/1352"> "Mon lapin bleu"</a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Lille
Festival
-
http://pierreyvesclouin.fr/files/original/afc0cb2a199279fdf7c7ad4040fabae4.jpg
bd3dc8d774352397021e8e5068bf4dbe
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Bit Depth
8
Channels
3
Height
885
Width
1426
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Text
Any textual data included in the document.
<p>"... All the works that were labelled "problematic" were screened in the office of the architecte Bernard Khoury in Karantina, where the space was transformed into a theatre with two hundred seats for one evening. Those works included Naufus Figueroa's Masturbation in the Fatherland, Pierre Yves Clouin's<a title=""My Hands are shaking" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/78" target="_self"> My Hands Are Shaking</a>, Jean Gabriel Periot's Lovers and Laetitia Bourget's <em>7121 images du sexe d'un autre</em>.</p>
<p>Akram Zaatari</p>
<p>The thougt of sex.The problematic presentation of Let it Be in Beirut</p>
<p>Queer Geographies Beirut-Tijuana-Copenhagen 2009, p30</p>
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Text
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"The thought of sex. The problematic presentation of Let it be in Beirut" by Akram Zaatari
Description
An account of the resource
<img src="http://pierreyvesclouin.fr/files/original/294b8f7637bfab876c92253d091da76d.jpg" alt="" width="400px" /><br />in Queer Geographies Beirut-Tijuana-Copenhagen, 2009, p30
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Relation
A related resource
<a title=""Let it Be" by Akram Zaatari" href="http://pierreyvesclouin.fr/items/show/301">Let it Be</a>
Format
The file format, physical medium, or dimensions of the resource
text
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Beirut-Tijuana-Copenhagen
-
http://pierreyvesclouin.fr/files/original/af5e7f3b8e0bb96af3947f4669a6790e.pdf
e5fd279a97ff4b0d42d308d9c0c9da2d
http://pierreyvesclouin.fr/files/original/dc02fa44d9e4ecd4656725d9270104cd.pdf
fefd5a7bb092b3c8da1c9b5ab366dfb6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2009-06-19
Event Type
festival
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"I'm a New York Based Artist" in Onion City Experimental Film and Video Festival in Chicago
Description
An account of the resource
<img src="http://pierreyvesclouin.fr/files/original/6fc61be61a7807c3e14cd406a5df3d5d.jpg" alt="" width="400px" /><br />
<div class="paragraph paragraph_style_2">
<div class="tinyText style_SkipStroke_1 inline-block stroke_0"><a title=""I'm a New York Based Artist" " href="http://pierreyvesclouin.fr/items/show/43" target="_self">"I'm a New York Based Artist" </a>(2007) will be screened in Chicago, at 7pm on June 19, during the 21st Onion City Experimental Film and Video Festival. The festival, which will run from June 16 to 20, is organized by <a title="http://www.chicagofilmmakers.org/" href="http://www.chicagofilmmakers.org/">Chicago Filmmakers</a>. "I'm a New York Based Artist" will be featured in the festival program "Group Show Three: Shards of Space and Place." "I'm a New York Based Artist"<br />Actually a Paris based artist, Clouin strikes an ironic note with grungy low-res images of NYC as the soundtrack swells with a well-known 1950s pop standard.<br />— Patrick Friel, Onion City Experimental Film and Video Festival<br />Pierre Yves Clouin fuzzes and fractures the titular city in the playful 'I'm A New York Based Artist.'<br />— <a title="http://www.cine-file.info/list.htm" href="http://www.cine-file.info/list.htm">CINE-FILE.info</a>, Chicago Guide to Independent and Underground Cinema </div>
</div>
Relation
A related resource
<a title=""I'm a New York Based Artist" " href="http://pierreyvesclouin.fr/items/show/43" target="_self">"I'm a New York Based Artist" </a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Chicago
Festival
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2009-06-18
Event Type
screening
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>"C'est pas vrai"</em> in MusicVideoArt
Description
An account of the resource
<div class="paragraph paragraph_style_2">
<div class="tinyText style_SkipStroke_1 inline-block stroke_0"><a title=""C'est pas vrai"" href="http://pierreyvesclouin.fr/items/show/31" target="_self">"C'est pas vrai"</a> (Can't Be Real, 2009) has been selected for screening in the fourth annual <a title="http://www.musicvideoart.heure-exquise.org/" href="http://www.musicvideoart.heure-exquise.org/">MusicVideoArt</a>, an evening of music video art organized by Heure Exquise!, at La Maison Folie du Fort in Mons-en-Baroeul, France, on June 18.</div>
</div>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Mons en Baroeul, FR
Screening
-
http://pierreyvesclouin.fr/files/original/4ea2871cd6d097116977ca90c1fac28c.pdf
838a8a74e8a7a257388778facd952839
http://pierreyvesclouin.fr/files/original/e4fc7d0a538c5069582cf6fc75e0a41e.pdf
08cb6853a8b82f52171174ca11bca7dc
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2009-06-11 to 2009-06-14
Event Type
exhibition
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>"Fumée"</em> in Apexart program in "<em>New York Intime</em>" at the Pocket Film Festival, Paris
Description
An account of the resource
<div class="paragraph paragraph_style_2">
<div class="tinyText style_SkipStroke_1 inline-block stroke_0"><a title=""Fumée"" href="http://pierreyvesclouin.fr/items/show/33" target="_self">"Fumée"</a> (Smoke, 2008) in Paris in June, in a program curated to accompany the exhibition "Scrawl" at the Apexart Gallery in New York City. The <a title="http://www.festivalpocketfilms.fr/edition-2009/dans-les-espaces/panorama-ecrans-de-poche/article/apex-art-new-york-intime" href="http://www.festivalpocketfilms.fr/edition-2009/dans-les-espaces/panorama-ecrans-de-poche/article/apex-art-new-york-intime">Apexart program</a> iwas reprised in its entirety at the <a title="http://www.festivalpocketfilms.fr/" href="http://www.festivalpocketfilms.fr/">Pocket Film Festival</a> (June 11-14) in "<em>New York Intime</em>" program at the Forum des Images in Paris.</div>
</div>
Relation
A related resource
<a title=""fumée" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/33" target="_self"><em>Fumée </em></a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
exhibition
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2009-06-06
Event Type
screening
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Front Room" at the Hamburg International Short Film Festival
Description
An account of the resource
<a title=""Front Room" " href="http://pierreyvesclouin.fr/items/show/105" target="_self">"Front Room" </a>(1996) was <a title="http://festival.shortfilm.com/typo3/index.php?id=1566&tx_immoviedb_pi1[pointer]=6&tx_immoviedb_pi1[movie]=6684&tx_immoviedb_pi1[backPid]=1480&cHash=3f1c6d6217" href="http://festival.shortfilm.com/typo3/index.php?id=1566&tx_immoviedb_pi1%5Bpointer%5D=6&tx_immoviedb_pi1%5Bmovie%5D=6684&tx_immoviedb_pi1%5BbackPid%5D=1480&cHash=3f1c6d6217">screened June 6</a> at the 25th Internatonales Kurz Film Festival in Hamburg, Germany, during an evening celebrating the 20th anniversary of the Hamburg International Lesbian and Gay Film Festival.
Relation
A related resource
<a title=""Front Room" " href="http://pierreyvesclouin.fr/items/show/105" target="_self">"Front Room"</a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Hamburg
Screening
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2009-05-07
Event Type
televison broadscat
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"John Who?" on ADD-TV, New York
Description
An account of the resource
<a title=""John Who?" " href="http://pierreyvesclouin.fr/items/show/52" target="_self">"John Who?" </a>(2006) will be broadcast in "?," the upcoming Episode 56 of ADD-TV presented by George Lyter and Bipolar Productions on Manhattan Time Warner/MNN 34 and RCN/MNN 82 in Manhattan, New York. The espisode will also feature works by Ron Morris, Nekked, Jenny Bisch, and Natalie Lebouleux. The program will air Thursday, May 7, at 10 pm in Manhattan on Time Warner/MNN 34 and be streaming live on <a title="http://mnn.org/" href="http://mnn.org/">MNN.org</a>. The <a title="http://www.youtube.com/watch?v=sDiVSlRnFqw" href="http://www.youtube.com/watch?v=sDiVSlRnFqw">trailer can be viewed on YouTube</a>.
Relation
A related resource
<a title=""John Who?" " href="http://pierreyvesclouin.fr/items/show/52" target="_self">"John Who?"</a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
New York City
television
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2009-01-01
Event Type
television broadcast
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Le Saut dans le vide" on ADD-TV, New York
Description
An account of the resource
<p class="paragraph_style_3"><a title="LE SAUT DANS LE VIDE" href="http://pierreyvesclouin.fr/items/show/62" target="_self">"Le Saut dans le vide"</a> (The Leap Into The Void, 2004) will be broadcast in "Change," Episode 54 of <a title="http://www.add-tv.com/" href="http://www.add-tv.com/">ADD-TV</a> presented by George Lyter and Bipolar Productions on Manhattan Time Warner/MNN 34 and RCN/MNN 82 in Manhattan, New York, on January 1, 2009, at 10 pm. Also featured will be work by Ariel Aparicio, Brent Joseph, Craig Boreham, Francisco Medavog, "Illuminate" (excerpt 1) by Natalie Lebouleux, and The Undeniable. In addition, the program will be streaming live on <a title="http://mnn.org/" href="http://mnn.org/">MNN.org</a>. <a title="http://jp.youtube.com/watch?v=pC85k8rhRzw" href="http://jp.youtube.com/watch?v=pC85k8rhRzw">View the trailer</a>.</p>
<div> </div>
Relation
A related resource
<a title="LE SAUT DANS LE VIDE" href="http://pierreyvesclouin.fr/items/show/62" target="_self">"Le Saut dans le vide"</a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
New York City
television
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Event Type
screening
Participants
Names of individuals or groups participating in the event.
Vena Virago, Vincent Gallo, Pierre Yves Clouin, Eva Midgley
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Honey Bunny v.2
Description
An account of the resource
<img src="http://pierreyvesclouin.fr/files/original/0cd6bb978f9dabd715cf946320e89216.jpg" alt="" width="400px"" />
<p>screening December 27 2008, 10pm<br />with films by Vena Virago, Vincent Gallo, Pierre Yves Clouin, Eva Midgley, Monkey Town Williamsburg, NY<br />curated by Margie Schnibbe @ Sam Zimmerman</p>
<p> </p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-12-27
Relation
A related resource
<a title="Mon lapin bleu" href="https://pierreyvesclouin.fr/items/show/1352"><em>Mon lapin bleu</em></a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
New York City
-
http://pierreyvesclouin.fr/files/original/d6bbd386ccfc3a94e4fb6e778d1c10bc.pdf
8f1e5d9453cf2cfca4187c709729ff9c
http://pierreyvesclouin.fr/files/original/e8e849cf98a02c47971d8b39dde71162.pdf
58494712cf42b3127b4353113121e512
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2008-11-28 & 2008-12-07
Event Type
festival
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"I'm a New York Based Artist" in the Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and l'Entrepôt in Paris
Description
An account of the resource
<img src="http://pierreyvesclouin.fr/files/original/89265c8ccd71c06e4d0477bb6a15ec03.jpg" alt="" width="400px" /><br />
<p class="paragraph_style_4">"I'm a New York Based Artist" in the Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and l'Entrepôt in Paris<br /><a title=""I'm a New York Based Artist" " href="http://pierreyvesclouin.fr/items/show/43" target="_self">"I'm a New York Based Artist" </a>(2007) will be screened at the Centre Pompidou Cinema 1 on November 28 at 8 pm, during the opening of the <a title="http://www.art-action.org/en_prog.htm" href="http://www.art-action.org/en_prog.htm">Rencontres Internationales Paris/Berlin/Madrid</a> along with works by Enrique Ramirez, Manon de Boer, Christoph Girardet, Erik Moskowitz and Amanda Trager, Philippe Terrier-Hermann, Vasco Araujo, Manual Saiz, William Wegman, and Vincente Blanco. "I'm a New York Based Artist" will screened again during the festival — which will run through December 7 — at L'Entrepôt, Paris, on December 3 at 8 pm.<br />Screening Opening - Centre Pompidou: 2008-11-28, 8pm<br />L'entrepôt: 2008-12-03, 9pm</p>
Relation
A related resource
<a title=""I'm a New York Based Artist" " href="http://pierreyvesclouin.fr/items/show/43" target="_self">"I'm a New York Based Artist" </a>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
Festival
-
http://pierreyvesclouin.fr/files/original/d2153af5c992ed29dbbc503a68419614.pdf
3da521e647aadc9f4641385a57f30fde
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions, screenings, festival selections & documents
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
2008-09-03
Event Type
screening
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Bless My Soul," "Lunch," "My Hands Are Shaking," and "Model" in the Heure Exquise Collection at the Austin GLIFF
Description
An account of the resource
<img src="http://pierreyvesclouin.fr/files/original/ab5e71bdb95a0125b4051edf0bc396bf.jpg" alt="" width="400px" /><br />
<div class="paragraph paragraph_style_2"><a title=""Bless My Soul"" href="http://pierreyvesclouin.fr/items/show/42" target="_self">"Bless My Soul"</a>(2007), <a title=""Lunch"" href="http://pierreyvesclouin.fr/items/show/68" target="_self">"Lunch"</a>(2002), <a title=""My Hands Are Shaking" " href="http://pierreyvesclouin.fr/items/show/78" target="_self">"My Hands Are Shaking" </a>(2001), and <a title=""Model" " href="http://pierreyvesclouin.fr/items/show/79" target="_self">"Model" </a>(2001) will be screened in the "<a title="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008" href="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008">Heure Exquise<span> Collection</span></a>" at the <a title="http://agliff.org/index.php" href="http://agliff.org/index.php">21st Austin Gay and Lesbian International Film Festival</a>, September 3rd to 7th. <br /><br /></div>
<p class="paragraph_style_2"> </p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-09-03
Relation
A related resource
<ul>
<li><a title=""Bless My Soul"" href="http://pierreyvesclouin.fr/items/show/42" target="_self">"Bless My Soul"</a></li>
<li><a title=""Lunch"" href="http://pierreyvesclouin.fr/items/show/68" target="_self">"Lunch"</a></li>
<li><a title=""My Hands Are Shaking" " href="http://pierreyvesclouin.fr/items/show/78" target="_self">"My Hands Are Shaking" </a></li>
<li><a title=""Model" " href="http://pierreyvesclouin.fr/items/show/79" target="_self">"Model"</a></li>
</ul>
Type
The nature or genre of the resource
event
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Austin
Screening